4-Channel Line Mixer with FireWire
O W N E R ’ S M A N U A L
1
2
3
4
LEVEL
SET
LEVEL
SET
U
U
U
U
GAIN
GAIN
POWER
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
U
U
U
U
U
U
U
U
U
U
U
U
EQ
EQ
HIGH
HIGH
L
R
OL
10
7
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
MID
MID
4
0
4
10
20
LOW
LOW
AUX
AUX
O O
FW IN
O O
PHONES
MAX
MAX
O O
O O
O O
O O
U
U
U
U
LEVEL
LEVEL
LOOP
OUT
O O
O O
O O
O O
MAX
MAX
MAX
MAX
O O
MAX
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Contents
IMPORTANT SAFETY INSTRUCTIONS ........................ 2
INTRODUCTION ...................................................... 4
FEATURES............................................................... 4
GETTING STARTED................................................... 5
HOOKUP DIAGRAMS............................................... 6
21. FW LOOP OUT......................................... 14
SOFTWARE INSTALLATION..................................... 24
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FEATURES
Introduction
•
4 stereo line-level input channels.
•
Built-in FireWire 2x2 interface provides easy
input from computer to the main mix, and easy
outputs to the computer from the main mix. It
has 24-bit resolution, and 44.1, 48, 88.2, and 96
kHz sample rates.
Thank you for choosing a Mackie U.420 mixer. It
contains all your favorite features in a ultra-compact
4-channel line mixer, along with a built-in FireWire
interface, and a phono input for turntablists.
The U.420 is equally at home in recording studio ap-
plications or in live performances:
•
•
Separate FireWire modes for live performance
or overdubbing.
In the studio, the mixer offers Mackie-quality sound
to sub-mix outboard gear and bring it into the computer.
It has 4 stereo inputs that can accept any stereo device
from synths, samplers, or a turntable. Channel 1 accepts
an instrument connection without the need for a DI box.
Ultra-compact design, with functional and
ergonomic controls.
•
•
3-Band EQ on each channel, with kill position.
Phono preamplifier on channel 4 accepts
phono-level stereo signals from a turntable.
In live performances, the mixer will enable you to
sub-mix synths, computers, samplers, pedal boards,
turntables, cd-players, and effects on stage. Bands
and solo artists from DJs, electronic artists and singer
songwriters can use the mixer to sub-mix their creative
tools and deliver them to the sound board. The mixer’s
aux bus allows you to set up a separate mix to feed stage
monitors or external processors.
•
•
Instrument-level input option on channel 1.
Stereo aux bus allows a separate mix to be sent
to stage monitors or external processors.
•
•
•
•
TRS stereo main outputs.
TRS stereo headphone output.
TRS stereo aux bus outputs.
Level-set LEDs and gain controls allow easy
optimization of each channel.
You will find that the U.420 mixer is a very useful
piece of equipment, and we hope you will love it, just as
much as we did making it for you.
•
•
•
•
Stereo main meters with overload lights.
Large, easy to use, main level control.
External power supply.
Includes Tracktion, our professional, easy-to-
use, totally-amazing music production software.
HOW TO USE THIS MANUAL
Please read the safety instructions on page 2 first.
The getting started guide on page 5 will help you get the
mixer set up fast so you can start using it right away.
Right after that are the ever popular hook-up diagrams
that show you some typical setups.
The features section describes every knob, button,
and connection point on the mixer, roughly following
the signal flow through the mixer from top to bottom.
For more information about a feature, locate its number
in the appropriate illustration, and find it in the nearby
paragraphs.
Please write your serial number here for future
reference (i.e., insurance claims, tech support,
return authorization, etc.)
This icon marks information that is critically
important or unique to the mixer. For your
own good, read them and remember them.
This icon leads you to in-depth explanations
of features and practical tips. They usually
have some valuable nuggets of information.
Purchased at:
Appendix A shows service and repair information.
Appendix B is a section on connectors.
Appendix C shows the specs and a block diagram.
Appendix D shows details of the FireWire interface.
Date of purchase:
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Set the Levels
Getting Started
To set the gain controls, it’s not even necessary to
hear what you’re doing at the outputs of the mixer. If
you want to listen while you work, plug headphones into
the phones jack on the front panel, then set the phones
knob up a little.
READ THIS PAGE!!
Even if you never read manuals, please
read and digest the safety instructions
on page 2, and this page before you
begin using your mixer.
1. Play something into the selected input. Be sure
that the volume of the input source is the same as
it would be during normal use. If it isn’t, you might
have to readjust these levels during the middle of a
set.
Zero the Controls
1. Unplug the mixer’s external power supply from the
mixer.
2. Adjust the channel’s rotary gain control so that the
level set LED comes on while you are playing, and
goes off when you stop. As a rough guide, adjust the
gain until the LED is on for about half the time dur-
ing your performance. (The LED indicates that the
signal level is 0 dBu.)
2. Turn down all the gain, aux, and level controls, and
center all the EQ controls.
3. Set all push button switches to their “out” positions.
3. Repeat for any other channels.
4. In the center section, turn down the large level
knob, FW in knob, and phones level knob.
Instant Mixing
Connections
1. To get sound out of the speakers, turn up the
channel’s level control to the U (unity gain) position,
and slowly rotate the large main control to a comfort-
able listening level.
If you already know how you want to connect the
mixer, go ahead and connect the inputs and outputs
the way you want them. If you just want to get sound
through the mixer, follow these steps:
2. Sing and play. You’re a star! Bring in the other
channels, and generally have fun.
1. Plug a signal source into the mixer. This could be a:
3. Grease the frying pan with hog fat and turn up the
heat just enough to not fill the kitchen with fine
blue smoke.
•
•
Turntable into the phono input.
Line-level source such as a CD player into a
line-level input.
4. Cook the sausages until golden brown, and serve
with black pudding and a pint of warm beer.
•
A guitar plugged into channel 1’s left input,
with the instrument switch pressed in.
2.
Connect cords from the main outs to your powered
speakers or amplifier.
FireWire
3. Plug in the mixer’s external power supply, and con-
nect it to a live AC outlet to turn on the mixer.
1. See Appendix D, on page 21 for details of getting
started with FireWire.
4. If you have powered speakers, turn them on. Other-
wise, hook up your speakers to your amp and turn it
on. Adjust your powered speaker or amplifier level
controls to however the manufacturer recommends.
(This is usually all the way up.)
2. There is a nice section about recording with
FireWire on page 22.
3. There is no step 3. Well, only this one, and it is not
very informative. (Tech writers just love numbered
lists.)
4. There is no step 4 either.
Other Nuggets of Wisdom
•
Always turn down the main level control and phone
level control before making any connections.
•
When you shut down your equipment, turn off the
amplifiers first. When powering up, turn on the
amplifiers last.
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Hookup Diagrams
HR824
Powered
Monitors
Drum machine
Effects/ Sampler
Headphones
MAIN
OUT
AUX
OUT
L
L
MONO)
L
(MONO)
ONO)
(MONO)
3
2
1
GN
ONO
POWER
18V,1.5A
R
R
R
R
R
ground wire
Laptop
Keyboard
Turntable with phono-level out
This diagram shows a stereo synth, and a drum machine connected to channels 1 & 2, and a turntable
connected to the phono inputs of channel 4. The stereo aux output sends signals to the effects/sampler,
and the wet signal is returned into channel 3.
The main outputs are fed to a pair of Mackie HR studio monitors for control room listening, and the
mixer’s Big Knob controls their volume. The headphone out has its own level control, independent of the
Big Knob.
A laptop is connected via FireWire. The U.420 provides stereo mains to the computer for record-
ing with most DAW applications like Tracktion, Cubase, or Sonar. This is independent of the Big Knob
as well. Additionally, there is a stereo return from the laptop that has its own mix level control into the
mains.
The FireWire loop through switch on the top of the mixer makes overdubbing a breeze. In its normal
out position, you can play back the mix from your DAW and it will not create a feedback loop. Only the
analog inputs 1-4 will be available for recording. Track it!
Oh, and don’t forget this FireWire return can be used for any playback software application like
Ableton Live, Tracktor, or iTunes.
Production studio
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SRM450
Powered
Speakers
Guitar
SRM450 Powered
Stage Monitor
Drum machine
Headphones
MAIN
OUT
AUX
OUT
L
L
L
(MONO
ONO)
L
(MONO
(MONO)
4
3
2
1
GN
PHONO
L
POWER
18V,1.5A
R
R
R
R
R
ground wire
Laptop
Keyboard
Turntable with phono-level out
This diagram shows a guitar connected to channel 1, plus a stereo synth and drum machine connected
to channels 2 & 3. A turntable is connected to the phono inputs on channel 4. Use the left aux send to
connect to a Mackie SRM450 for stage monitoring. The U.420 will automatically sum the stereo signal to
mono if you use the left aux output only.
The main outputs are fed to a pair of Mackie SRM450s for the audience’s listening pleasure. The
mixer’s Big Knob controls their volume. The headphone out has its own level control, independent of the
Big Knob.
A laptop is connected via FireWire. The U.420 provides stereo mains to the computer for recording
with most DAW applications like Tracktion, Cubase or Sonar. Perfect for recording your set. Any play-
back software applications like Ableton Live or Tracktor can easily be part of your performance by utiliz-
ing the FireWire stereo return that has its own mix level control into the mains.
The FireWire loop through switch on the top of the mixer allows you to send your FireWire return
through the FireWire output for recording. So use Ableton Live and your analog inputs to perform, and
record it all at the same time on Tracktion or your DAW of choice. The switch should be pressed in to
allow loop through of the FireWire return to the FireWire record output.
Live performance system
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Personal Stereo Monitors
(SRM150 powered monitors)
This diagram shows an acoustic
guitar connected to channel 1, plus
a stereo performance synth like a
Nord Lead on channel 2, a good
organ like a Korg CX-3 on chan-
nel 3, and an electronic piano on
channel 4 (with a dab of chanel #5
behind each ear for good measure).
Acoustic
Guitar
Main Mix
to
front-of-house
mixer
Electronic Piano
The main outputs are fed to the
FOH (front of house) mixer for the
audience’s listening pleasure. The
stereo aux output is being sent to a
pair of SRM150s on mic stands for
stereo stage monitoring.
MAIN
OUT
AUX
OUT
L
L
MONO)
L
(MONO)
L
(MONO)
(MONO)
4
3
2
1
GN
ONO
POWER
18V,1.5A
R
R
R
R
R
A laptop is connected via
FireWire. This laptop is loaded with
awesome virtual instruments like
those in applications such as Logic,
and a USB keyboard is connected
for real-time performance.
Organ
Nord Lead
Keyboard Controller
Laptop
Keyboardist’s submixer
This diagram shows a stereo keyboard
workstation, a groovy analog synth, an
electronic piano, and an electric organ con-
nected to channels 1–4.
HR824
studio
monitors
Electronic Piano
Aux to
studio mixer
The main outputs are fed to a pair of
Mackie HR studio monitors for local monitor-
ing, and the mixer’s Big Knob controls their
volume. The headphone output has its own
level control, independent of the Big Knob.
The stereo aux out sends signals to the main
studio recording console for tracking.
MAIN
AUX
OUT
OUT
L
L
(MONO)
L
(MONO)
L
(MONO)
O)
4
3
2
1
GND
PHONO
L
POWER
18V,1.5A
R
R
R
R
R
R
A laptop is connected via FireWire. This
laptop is loaded with awesome virtual
instruments like those in applications such as
Logic, and a USB keyboard is connected for
real-time performance and recording.
Laptop
The FireWire loop through switch on top
of the mixer makes overdubbing a breeze.
In it’s normal out position, you can playback
the mix from your DAW and it will not
create a feedback loop. Only the analog
inputs 1-4 will be available for recording.
Track it!
Headphones
Rhodes
Keyboard Controller
Analog Synth
Keyboard workstation
Keyboard recording station
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DigitalVideo
Camcorder
HR824
Powered
Monitors
Headphones
MAIN
OUT
AUX
OUT
L
L
L
(MONO)
L
(MONO)
L
(MON
(MONO)
4
3
2
GN
PHONO
L
POWER
18V,1.5A
R
R
R
R
R
R
Video out
DV Recorder 1
Video out
iPodTM Docking Station
Desktop computer and large display
DV Recorder 2
Video Monitor
This diagram shows a DV camcorder audio connected to channel 1, DVR decks connected to channels
2 and 3, and an iPod docking station connected to channel 4.
The main outputs are fed to a pair of Mackie HR studio monitors for local monitoring, and the mixer’s
Big Knob controls their volume. The headphone output has its own level control, independent of the Big
Knob.
A Mac with a cinema display is connected via FireWire to the mixer. The computer audio comes from
a video production application like Final Cut Pro for monitoring during editing. The audio inputs can also
be recorded through the mixer’s FireWire connection.
Video edit bay
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Rear Panel Features
MAIN
OUT
AUX
OUT
L
L
L
(MONO)
L
(MONO)
L
(MONO)
(MONO)
4
3
2
1
GND
PHONO
L
POWER
18V,1.5A
R
R
R
R
R
R
ꢁ. PHONO Inputs
1. INSTRUMENT/LINE Input
Channel 4’s RCA jacks accept stereo phono-level
signals from turntables. Check that your turntable has
a phono-level output and a moving-magnet cartridge.
Turntables usually have a ground wire that needs to be
connected to the ground terminal [4].
These inputs accept either 1/4" TRS balanced or TS
unbalanced connectors.
Unlike the other inputs, channel 1’s left input can
accept direct instrument-level signals such as from
guitars, without the need for a DI box. For this to work,
press channel 1’s instrument switch [11]. The guitar or
other instrument will appear on both left and right of
channel 1. (The right input is disconnected internally.)
The turntable’s stereo phono-level signals are re-
equalized and converted to line-level signals by the fine
RIAA preamplifiers inside the mixer.
The phono inputs are internally disconnected
if anything is plugged into channel 4’s line
inputs.
If the instrument switch is out, then these inputs are
just like the other channel line-level inputs described
below.
Do not connect line-level sources to these
phono-level inputs, or the phono preamplifiers
may be overloaded. Use the line-level inputs
[2] instead.
ꢀ. LINE Inputs
These line-level inputs accept either 1/4" TRS bal-
anced or TS unbalanced connectors.
You can connect stereo line-level sources such as CD
players, MP3 players, keyboards, drum machines, tape
players, and all manner of line-level goodies. You might
need to purchase some RCA to 1/4" mono adapters, de-
pending upon your source component. These are readily
available at your local music, electronics, or grain and
feed store.
4. GND Terminal
This terminal is provided to connect a ground wire
from your turntable to the mixer. Most turntables pro-
vide a ground wire for the purpose of eliminating hum in
the audio signals.
Rotate this terminal counter-clockwise to loosen it,
wrap the end of the ground wire clockwise around the
terminal, and hand-tighten the terminal for a secure
ground connection.
These are stereo inputs; the left signals appear on the
left main mix bus, and the right signals appear on the
right main mix bus.
If you have a mono source component, then connect
it to the left input, and the mono source will appear
equally on the left and right of the main mix. (This does
not apply to channel 4.)
5. AUX Outputs
These 1/4" TRS jacks provide a balanced line-level
output signal from the stereo aux bus. Use these to
connect to the inputs of an external effects processor,
another PA system, or stage monitors. You can also use
unbalanced 1/4" TS connectors.
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If you plug a cable into the left aux output
jack, and leave the right output jack empty,
the right and left signals are summed together
Warning: The headphone amp is designed to
drive any standard headphones to a very loud
level. We’re not kidding! It can cause perma-
to provide a mono output.
nent hearing damage. Even intermediate levels may be
painfully loud with some headphones. Be careful!
The stereo aux output from these connectors is the
sum of all channels whose aux level controls [16] are
set to more than minimum. The aux bus gives you the
chance to make a second mix or send an individual
channel from the mixer, independent of the main level
control [23] or channel level controls [17].
Always start with the phones level control turned all
the way down before connecting headphones or making
any connections. Keep it down until you’ve put on the
headphones, and turn it down whenever you play a new
source.
You could use the aux output to feed stage monitors,
or to feed a headphone amplifier so you can wear head-
phones on stage. This lets you get a different mix than
the audience is hearing, plus you get to look a lot cooler
and surprisingly attractive with headphones on.
8. DC Input
This DC input connector is used to supply power to
the mixer. Connect the supplied external power supply
here, and plug the other end of the power supply into
the AC mains. The power LED [18] will joyfully illumi-
nate, indicating that the mixer is powered on, and ready
for some super fun.
If you are going out to an external processor, you can
return its processed output to one of the mixer’s line-
level input channels.
The universal external power supply that comes with
your mixer can accept any AC voltage from 100 VAC to
240 VAC.
ꢂ. MAIN OUTs
These 1/4" TRS connectors provide stereo line-
level signals from the main mix. Connect these to
the balanced inputs of the active speakers, or power
amplifier(s) powering your main speakers.
9. FIREWIRE Connection
FireWire (IEEE 1394) is a high-speed serial I/O inter-
face for connecting digital devices. The mixer has one
FireWire connector for transferring digital audio to and
from your computer.
The main mix is the sum of all active channels cur-
rently playing, including any 2 channel FireWire input.
How much of a channel that is heard in the main mix, is
determined by that channel’s level control [17].
The FireWire interface provides two audio outputs to
your computer:
If you plug a cable into the left output jack,
and leave the right output jack empty, the
right and left signals are summed together to
provide a mono output.
•
Main mix output, left and right. These output
signals are independent of any adjustments
made to the main level control [23]. This al-
lows you to easily record your live performance
directly to your laptop.
Balanced 1/4" TRS connections offer better
immunity to external noise (specifically, hum
and buzz) than 1/4" TS unbalanced con-
•
The FireWire loop out switch [21] lets you
choose if you want the FireWire input to be
connected to the FireWire output for recording.
See page 15 for more details of this switch.
nections. Because of this, it is the preferred
interconnect method, especially in cases where very
long lengths of cable are being used. A long unbalanced
cable carries with it more opportunity for noise to get
into the system — having balanced cables means very
little noise will enter the system. If you must use an
unbalanced connection, keep the cable length to 10 feet
or less (3 meters).
The FireWire interface also lets you use your com-
puter to play back two channels into the mixer:
•
Left and right signals from your computer are
added to the main mix. The FW in control [20]
allows you to adjust the level of the incoming
audio being added to the main mix.
7. HEADPHONES Output
See Appendix D on page 21 for more FireWire details,
and the block diagram on page 20.
This 1/4" TRS stereo jack is where you plug in your
stereo headphones.
The headphone volume is controlled by the phones
level control [22]. It is not affected by the main level
control [23].
The headphones output is the main mix, taken just
before the main level control [23].
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Top Panel Features
1
2
3
4
LEVEL
SET
LEVEL
SET
U
U
U
U
GAIN
GAIN
POWER
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
U
U
U
U
U
U
U
U
U
U
U
U
E
EQ
HIGH
HIGH
L
R
OL
10
7
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
MID
MID
4
0
4
10
20
LOW
LOW
AUX
AUX
O O
FW IN
O O
PHONES
MAX
MAX
O O
O O
O O
O O
U
U
U
U
LEVEL
LEVEL
LOOP
OUT
O O
O O
O O
O O
MAX
MAX
MAX
MAX
O O
MAX
When this switch is out, input 1 is a line-level input,
Channel Controls
just like inputs 2–4. You can connect stereo line-level
sources such as CD players, MP3 players, keyboards,
drum machines, and tape players. You will need a DI
box if connecting instrument-level signals to the inputs
when this switch is out.
10. LEVEL SET LED
These LEDs are used with the gain control [12] to set
the level of the channel’s preamplifier gain just right.
They light when the signal level is 0 dBu.
1ꢀ. GAIN
Adjust the gain control so these LEDs come on while
you are playing, and go off when you stop. As a rough
guide, adjust the gain until the LEDs are on for about
half the time during your performance.
These knobs allow you to adjust the gain of each
channel’s stereo preamplifier.
Signals from the line-level input jacks go straight
to the preamplifiers. Phono-level signals entering the
phono inputs [3] of channel 4 are first passed through
an RIAA phono preamplifier to become line-level signals.
Setting the gain correctly will ensure that the pre-
amplifier’s gain is not too high, where distortion could
occur, and not too low, where your quieter, exquisitely-
delicate passages might be lost in background noise.
The gain ranges from –14 dB to +14 dB, and the
center U position represents unity, or zero gain. Adjust
the gain so the level set LEDs [10] come on while you
are playing, and go off when you stop. As a rough guide,
adjust the gain until the LED is on for about half the
time during your performance. Listen for any distortion
at the higher levels.
11. INSTRUMENT SWITCH
When this switch is pressed in, channel 1’s left input
can accept direct instrument-level signals from guitars
or other instruments. They will be impedance-matched
to the channel 1 left input, without the need for a DI
box. (The right input is disconnected.)
Adjust the gain after plugging in any input, or playing
a new source or instrument for the first time.
1ꢀ
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ꢁ-BAND EQ
1ꢂ. AUX
The U.420 has 3-band equalization at carefully
selected points — low shelving at 300 Hz, mid peaking
at 1 kHz, and high shelving at 4 kHz. “Shelving” means
These stereo controls allow you to adjust how much of
the channel signal is added to the aux bus. The aux bus
contains the sum of all channels whose aux controls are
that the circuitry boosts or cuts all frequencies past the set to more than minimum.
specified frequency. For example, rotating the low EQ
The aux bus feeds the aux outputs [5], typically out
knob clockwise will boost the bass at 300 Hz and below.
“Peaking” means that certain frequencies form a “hill”
around the center frequency — 1 kHz in the case of the
mid EQ.
to an external processor. Each channel’s stereo signal
retains it’s stereo image as it is sent to the aux bus.
This is great for keyboard players who work with stereo
sounds from stereo effects processors.
Be careful with the EQ, or you can really upset
things. We’ve designed a lot of boost and cut
into each equalizer circuit, because we know
A look at the block diagram may shed some
light on the aux signal path, but you can skip
this part if you like. The following diagram
shows just one channel, but each channel
everyone will occasionally need that. But if
you max the EQs on every channel, you’ll get mix mush.
Equalize subtly and use the left sides of the knobs
(cut), as well as the right (boost). You can create many
interesting and useful EQ changes by turning the knobs
down and adjusting the level [17] up if needed.
adds to the aux bus and main bus in the same way.
Level Set
3-Band EQ
L
Gain
Level
LO
HI
MID
R
LO MID
HI
If all the EQ controls in a channel are turned down to
the kill position, then that channel is effectively muted.
(Word: DJs find it very useful to have EQ controls with a
kill position, in their fast-paced beat-based world.)
Aux Out L
L
R
Aux
1ꢁ. HIGH EQ
Aux
Sum
Aux Out R
This gives up to 10 dB of boost for the frequency range
above 4 kHz, and the highs are muted in the kill posi-
tion. In the center position U, high EQ has no effect.
The channel signals go through the preamplifier and
into the EQ. The level control [17] allows you to adjust
how much of the channel appears on the main mix bus.
The aux control [16] allows you to adjust how much of
each channel appears on the aux bus.
Use it to add sizzle to cymbals, and an overall sense
of transparency, or edge to keyboards, vocals, guitar and
bacon frying. Turn it down a little to reduce sibilance, or
to hide tape hiss.
•
The aux output is affected by the gain, EQ, and
aux level of each channel.
•
The aux output is not affected by the level
control of each channel, and it is independent
of the main mix bus.
14. MID EQ
This gives up to 10 dB of boost for frequencies cen-
tered around 1 kHz, and the mid range is muted in the
kill position. In the center position U, mid EQ has no
effect.
For an example, you could set up a stage monitor for
the guitar player. Connect an amplifier or a powered
monitor to the aux outputs [5]. Set all aux level con-
trols to minimum, then turn up the guitar channel’s aux
level to suit. Any adjustments of the level [17] or main
level [23] will not affect the stage monitor level, so your
guitar player will be happy, and that is always a good
thing. Mark that one on your calender as a special day.
Midrange EQ is often thought of as the most dynamic,
because the frequencies that define any particular
sound are almost always found in this range.
15. LOW EQ
17. LEVEL
This gives up to 10 dB of boost for the frequency range
below 300 Hz, and the lows are muted in the kill posi-
tion. In the center position U, low EQ has no effect.
These level controls allow you to adjust how much of
the channel signals appear on the main mix bus. They
have no effect on the level of signals going onto the
aux bus. Adjust these carefully to acheive a nice blend
in your main system and headphones. Turn down any
unused channels.
The frequency range below 300 Hz represents the
realm of bass drums, bass guitar, fat synth patches, and
lower down to some really serious male singers.
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1
2
3
4
LEVEL
SET
LEVEL
SET
U
U
U
U
GAIN
GAIN
POWER
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
U
U
U
U
U
U
U
U
U
U
U
U
E
EQ
HIGH
HIGH
L
R
OL
10
7
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
KILL
MID
MID
4
0
4
10
20
LOW
LOW
AUX
AUX
O O
FW IN
O O
PHONES
MAX
MAX
O O
O O
O O
O O
U
U
U
U
LEVEL
LEVEL
LOOP
OUT
O O
O O
O O
O O
MAX
MAX
MAX
MAX
O O
MAX
Control Section
18. POWER LED
ꢀ0. FW IN
This will light whenever the external power supply is
connected to the mixer and to a live AC mains supply.
The mixer does not have a power switch, so as long as
the external power supply is connected and operating,
this LED should be on.
This control lets you adjust the signal level of the two
FireWire channels coming in from your computer, rela-
tive to the mix of channels 1 to 4. Adjust it carefully to
achieve the desired mix with the other channels. (If the
other level controls [17] are down, then the meters will
show the level of the FireWire input only.)
19. METERS
The FireWire input from your audio software such as
Tracktion, could be individual instrument tracks, a mix
of tracks, or processed tracks.
These meters have 8 LEDs each, ranging from –20 to
+13.5 (OL). They indicate the stereo signal strength of
the main mix after the main level control [23].
Typically, you want to see these meters bouncing
between the “0” and the “+4” LEDs. It is okay if the OL
LEDs light occasionally, but if they light frequently or
continuously, turn down the main level control until
they blink occasionally or not at all.
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ꢀ1. FW LOOP OUT
ꢀꢁ. MAIN LEVEL
In addition to a mix of channels 1 to 4, the FireWire
This big handy knob adjusts the main mix output level
output to the computer can contain any FireWire input, at the main outputs [6]. Use it wisely to turn up the
if this switch is down. (The mains and phones are not
affected by the switch, and always provide a full mix of
channels 1 to 4 and the 2-channel FireWire inputs.)
tunes in your main speakers, or to turn it down when-
ever you think the room could benefit from a little less
noise from your band.
•
If disengaged (out), the FireWire output to
your computer will just be the main mix from
channels 1 to 4. This is a good position for
overdubbing, as any playback from your com-
puter can be played in your main speakers and
headphones, while you play along with a guitar
and record only the guitar via FireWire.
The meters will also be affected by this control. It
does not adjust the levels to your headphones, FireWire
outputs, or the aux outputs.
ꢀ4. FAIRY DUST
Sometimes, all you need is a little bit of
fairy dust to make your recording climb to
number 1 in the charts. If you really-really
believe in this imaginary control, adjust it
carefully to sprinkle golden fairy dust throughout your
recording session. Fame and fortune are just a wing beat
away.
1
2
3
4
U
U
U
U
LEVEL
LEVEL
O O
O O
O O
O O
MAX
MAX
MAX
MAX
FireWire recording channels 1–4 only
•
If pressed in, the FireWire output to your
computer will be the mix of channels 1 to 4,
including any FireWire audio coming in from
your computer. This is a good position to record
live, where your complete main performance
(including any input from the computer) can
be recorded via FireWire.
1
2
3
4
U
U
U
U
LEVEL
LEVEL
O O
O O
O O
O O
MAX
MAX
MAX
MAX
FireWire input from computer
LOOP
OUT
O O
FW IN
MAX
PRESS IN TO MAKE THIS CONNECTION
FireWire recording channels 1–4 and FireWire in
ꢀꢀ. PHONES LEVEL
This controls the volume of the headphones output
from off to maximum gain.
Warning: The headphone amplifier is de-
signed to drive any standard headphones to a
very loud level. It can cause permanent hear-
ing damage. Even intermediate levels may be painfully
loud with some headphones. Be careful! Always start
with the phones level control turned all the way down
before connecting headphones or making any connec-
tions. Keep it down until you’ve put on the headphones,
and turn it down first whenever you play a new source or
instrument.
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Appendix A: Service Information
If you think your U.420 has a problem, please check
out the following troubleshooting tips and do your best
to confirm the problem. Visit the Support section of our
website (www.mackie.com/support) where you will find
lots of useful information such as FAQs, documentation,
and user forums. You may find the answer to the prob-
lem without having to send your U.420 away.
•
If you are playing a guitar into channel 2, 3, or 4,
you need to use a DI box for the correct impedance
match and high frequency fidelity.
•
•
Try the same source signal in another channel, set
up exactly like the suspect channel.
Only phono-level sources (turntables) should be
connected to the RCA phono inputs [3]. The phono
section requires your cartridge to be a moving-mag-
net type. It may be too low to amplify the low levels
of a moving-coil type.
Troubleshooting
No Power
•
If there is no phono output, check that there is
nothing plugged into channel 4’s line inputs. The
phono inputs are internally disconnected if any-
thing is plugged into channel 4’s line inputs.
•
Make sure the external power supply is securely
seated in the DC input [8] and plugged all the way
into the AC outlet.
•
•
Only line-level sources should be connected to the
line-level inputs [2] of channels 2, 3, and 4.
•
•
•
•
Make sure the AC outlet is live (check with a tester
or lamp).
If possible, listen to the signal with headphones
plugged into the input source device. If it sounds
bad there, it’s not the mixer causing the problem.
Is the power LED [18] illuminated? If not, make
sure the AC outlet is live.
Are all the lights out in your town? If so, contact
your local power company to get power restored.
Bad Output
If no LEDs are illuminated, and you are certain
that the external power supply is working, it will be
necessary to have your mixer serviced. There are no
user serviceable parts inside. Refer to “Repair” on the
next page to find out how to proceed.
•
•
Is the associated level control (if any) turned up?
If a left output is presumed dead, switch the left
and right cords at the mixer end. If the problem
stays on the left side, it’s not the mixer. but maybe
your left speaker, left speaker cables, or left ampli-
fier channel.
Bad Channel
•
•
•
•
Check the connections from your source are made
securely, and that the cords are in good condition.
Noise/Hum
•
Check that your turntable’s audio ground wire is
Check the channel’s program gain controls [12] are
set correctly.
connected to the ground terminals [4].
•
Turn down each channel, one by one. If the noise
disappears, it’s coming from whatever is plugged
into that channel. Check your whatever.
Are that channel’s EQ controls all turned down to
the kill position perchance?
Is the signal source turned up? Make sure the
signal level from the selected input source is high
enough to light the level set LEDs [10] when ad-
justed with the gain controls.
•
Check the signal cables between the input sources
and the mixer. Disconnect them one by one. When
the noise goes away, you’ll know which input source
is causing the problem.
•
If you are playing a guitar or other instrument level
source into channel 1, make sure the instrument
switch [11] is engaged.
•
•
It helps to plug all the audio equipment into the
same AC circuit so they share a common ground.
If the annoying humming continues, ask the drum-
mer to leave the room, or at least have him learn
the words.
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Repair
For warranty repair or replacement, refer to the war-
ranty information on page 27.
Non-warranty repair for Mackie products is available
at a factory-authorized service center. To locate your
nearest service center, visit www.mackie.com, click
“Support” and select “Locate a Service Center.” Service
for Mackie products living outside the United States can
be obtained through local dealers or distributors.
If you do not have access to our website, you can call
our Tech Support department at 1-800-898-3211,
Monday-Friday, 7 am to 5 pm Pacific Time, to explain the
problem. Tech Support will tell you where the nearest
factory-authorized service center is located in your area.
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Appendix B: Connections
1/4" TRS Phone Plugs and Jacks RCA Plugs and Jacks
“TRS” stands for Tip-Ring-Sleeve, the three connection
RCA-type plugs (also known as phono plugs) and jacks
points available on a stereo 1/4
jack or plug. TRS jacks and plugs are used for balanced
signals and stereo headphones:
"
or balanced phone
are often used in home stereo and video equipment and
in many other applications. They are unbalanced and
electrically equivalent to a 1/4 TS phone plug.
"
TIP
SLEEVE TIP SLEEVE
Balanced Mono
RING SLEEVE
TIP
SLEEVE RING TIP
RCA Unbalanced Wiring:
Sleeve = Shield
Tip = Hot (+)
RING
TIP
SLEEVE
1/4 TRS Balanced Mono Wiring:
"
Sleeve = Shield
Tip = Hot (+)
Ring = Cold (–)
Stereo Headphones
RING SLEEVE
TIP
SLEEVE RING TIP
RING
TIP
SLEEVE
1/4 TRS Stereo Unbalanced Wiring:
"
Sleeve = Shield
Tip = Left
Ring = Right
1/4" TS Phone Plugs and Jacks
“TS” stands for Tip-Sleeve, the two connection points
available on a mono 1/4
"
phone jack or plug. They are
used for unbalanced signals.
SLEEVE
SLEEVE
TIP
TIP
TIP
Dimensions
SLEEVE
8.8 in/
3.4 in/
224 mm
87 mm
1/4 TS Unbalanced Wiring:
"
Sleeve = Shield
Tip = Hot (+)
WEIGHT
2.5 lb
1.13 kg
8.6 in/
218 mm
18
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Appendix C: Technical Info
Specifications
Frequency Response (ꢀ0 Hz to ꢀ0 kHz, unity gain) :
Input Impedance:
Line input:
Line input to any output:
+0/–0.5 dB
100 kΩ balanced
Phono input to any output:
0.5 dB of RIAA EQ
curve
Phono input:
47.5 kΩ shunt with 200 pF
Maximum Output Levels:
Main out:
FireWire output to FireWire input
(with loop out switch engaged):
+15 dBu
+0/–0.5 dB
Aux out:
+15 dBu
Distortion (THD+N):
Main and aux output, 20 Hz to 20 kHz, 1 kHz input signal:
Phones:
1.5 Vrms into 32 Ω (70 mW)
Output Impedance:
Main out:
Line input at unity gain, 4 dBu input signal:
Better than 0.008%
120 Ω
120 Ω
50 Ω
Phono input at unity gain, –30 dBu input signal:
Better than 0.030%
Aux out:
Phones:
FireWire output to FireWire input : Better than 0.005%
Equalization
Low:
Phones output, 20 Hz to 20 kHz, +4 dBu input signal:
Line input at unity gain:
Better than 0.004%
+10/–inf dB @ 300 Hz
+10/–inf dB @ 1 kHz
+10/–inf dB @ 4 kHz
Mid:
Attenuation/Crosstalk:
High:
Main level at unity gain, 1 kHz input signal placed on any chan-
nel with gain knob at unity and level knob at minimum,
main outs (20 Hz–20 kHz):
FireWire
Sample rates:
44.1 kHz, 48 kHz,
88.2 kHz, 96 kHz
Better than –85 dBu
Main level at unity gain, 1 kHz input signal placed on any chan-
nel with gain knob at unity and level knob at minimum, main
outs measured (20 Hz to 20 kHz) with any other channel gain
knob at unity and level knob at unity:
Resolution:
24-bit
VU Meters
8–segment post main level meters
Better than –85 dBu
OL (+13), +10, +7, +4, +0, –4, –10, –20 dBu
Noise Characteristics:
Signal to Noise Ratio, 20 Hz to 20 kHz, ref +4 dBu:
Level set LED (sensitivity):
0 dBu
Main out at unity, all channel gain knobs at minimum:
Better than –91 dB
AC Power Requirements:
Power consumption:
8.3 watts
Main out at unity, all channel gain knobs at unity (dummy plugs
in channel 4 TRS inputs so phono is disengaged):
Better than –86 dB
Universal AC power supply:
100–240 VAC, 50–60 Hz
Physical Dimensions and Weight:
Main out at unity, channels 1 – 3 at minimum, channel 4 phono
at unity gain (no TRS plugs in channel 4):
Better than –74 dB
Height:
Width:
Depth:
Weight:
8.6 in/218 mm
8.8 in/224 mm
3.4 in/87 mm
2.5 lb/1.13 kg
All channel aux knobs at unity and all channel gain knobs at
unity:
Main out at unity, all channel gain knobs at minimum, FireWire
input level at unity: Better than –87 dB
Better than –89 dB
LOUD Technologies Inc. is always boldly striving to improve
our products by incorporating new and improved materi-
als, components, and manufacturing methods. Therefore, we
reserve the right to change these specifications at any time
without notice.
Maximum Input Levels (rated at 1% THD):
Line inputs, unity gain:
+15 dBu
Phono input:
77 mV rms @ 1kHz
“Mackie,” and the “Running Man” are registered trademarks of
LOUD Technologies Inc. All other brand names mentioned are
trademarks or registered trademarks of their respective hold-
ers, and are hereby acknowledged.
Input/Output Characteristics:
Input gain control range:
Line input gain knob:
Line input level knob:
Output gain control range:
Main level knob:
–14 to +14 dB
Off to +10 dB
©2007-2008 LOUD Technologies Inc. All Rights Reserved.
Off to +10 dB
Off to +10 dB
Channel aux knob:
19
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R x u A
L x u A
R
R x u A
L x u A
R
n i a M
n i a M
L
L
ꢀ0
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Appendix D: FireWire
FireWire stream to computer
System Requirements
In addition to a mix of channels 1 to 4, the FireWire
output to the computer can contain any FireWire input
from your computer, if the FW loop out switch [21] is
down.
These are the minimum requirements for your com-
puter system to use the U.420 FireWire interface.
For the PC:
•
•
•
Windows XP (service pack 2)
Pentium 4 or Athlon XP processor
256 MB RAM
1
2
3
4
U
U
U
U
LEVEL
LEVEL
O O
O O
O O
O O
MAX
MAX
MAX
MAX
FireWire input from computer
For the Mac:
•
•
•
OS X (10.3.9 or higher)
LOOP
OUT
O O
MAX
FW IN
G4 processor
256 MB RAM
PRESS IN TO MAKE THIS CONNECTION
The mains and phones outputs are not af-
fected by the switch, and always provide a
full mix of channels 1 to 4 and the 2-channel
The internal FireWire interface will allow the left and
right main mix to be recorded on a Mac or PC computer.
It also allows two channels of audio to be added to the
main mix from the computer.
FireWire input.
The analog audio from the mixer is converted to digi-
tal signals by the FireWire interface’s A/D converters.
FireWire stream from computer
The following table shows the outputs to your com-
puter from the FireWire interface:
The following table shows the outputs from your com-
puter to the mixer’s FireWire interface:
To
From
From
To
Computer input 1 Left mix of channels 1 to 4
with FW input (switch down)
Computer output 1 Main mix L
Computer output 2 Main mix R
or without FW in (switch up)
Computer input 2 Right mix of channels 1 to 4
with FW input (switch down)
The 2-channel digital stream from the computer
enters the mixer through the FireWire connector and is
converted to analog audio.
or without FW in (switch up)
Here are two examples of using the FW loop out
switch:
The audio level can be adjusted using the FW in
control [20].
Studio Overdub – Tracktion playback is coming
into the mixer on FireWire inputs, and routing
through the mains/phones for you to hear. A
guitar plugged into channel 1 is being recorded
via the FireWire output, while you listen and
play along to the Tracktion playback. The FW
loop switch is up, so the FireWire output to the
computer contains all playing channels except
the FireWire playback.
Beware of a possible feedback loop, if you are
feeding the main mix back into the mixer.
Live Performance – Computer playback software
like Ableton Live is being mixed to the mains
with other stereo sources such as synths, sam-
plers, turntables, and CD-DJ players. The FW
loop switch is down, so everything will be fed to
the FireWire out for recording an entire set.
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Direct hardware monitoring
Recording with FireWire
The U.420’s built in FireWire connection allows over-
dub style recording to a Mac or PC digital audio work-
station (DAW) through the FireWire cable.
When in performance or “live set” recording
mode, many professional audio interfaces
go to significant lengths to simulate direct
hardware monitoring by incorporating a zero-latency
monitoring engine via dedicated digital signal process-
ing. This usually requires you to configure a separate
“virtual” mixer for monitoring. The U.420 ALWAYS
provides zero-latency monitoring by design, without any
extra configuration. Hurrah!
Here are some steps showing how to record a first
track, and then record additional tracks while monitor-
ing ones that have already been recorded.
1. Connect the sound source you wish to record to
your audio software, for example:
Due to the nature of its signal path, the U.420 requires
the use of direct hardware monitoring, as follows:
•
A line-level source such as an electronic
keyboard.
•
Arm the track you wish to record onto, on your
DAW software.
•
•
A turntable connected to the phono inputs.
An instrument connected directly to the
instrument input 1 (with the instrument
switch [11] pressed in).
•
On the track you have just armed, press that
track’s mute button, so that (while recording)
you do not hear the return of that track com-
ing from the computer. This will ensure you do
not mix the direct track you are monitoring,
with the duplicate of the track on the DAW as
it is being recorded. You do not want to hear
the direct and DAW track of the same source
simultaneously, as the DAW version might be
slightly delayed, and the combination of the two
will produce a filtered sound.
2. Make sure the FW loop switch [21] is not
pressed in. This will ensure that during each
recording pass, the audio software only receives
the track-in-progress as an audio signal, and
not the pre-existing mix from the computer as
well.
3. Set the gain knob
[12] at the top of the
•
•
Make sure that the DAW’s input meters show
a healthy level, and if it needs to be increased
or decreased, adjust the signal’s channel level
knob [17], not the gain knob [12].
channel you are using
to an appropriate
level for the source
being recorded, using
the level set LED
[10] as a guide. Once
the gain has been set,
set the channel level
[17] to unity (U).
1
2
LEVEL
SET
U
U
GAIN
-14
+14
+10
+10
+10
MAX
-14
+14
+10
+10
+10
MAX
U
U
U
U
U
U
E
HIGH
Press record on the DAW and record the track.
KILL
KILL
KILL
KILL
KILL
KILL
MID
Overdubbing
LOW
To overdub additional tracks while listening to previ-
ously recorded ones, follow these steps:
AUX
The signals going out
to your computer are
not affected by the
main volume knob or
the phones knob.
O O
O O
•
•
•
•
Unmute the previously recorded track in the
DAW. It will now play out of the DAW’s main L-R
mix into the FW input of the mixer.
U
U
LEVEL
O O
O O
MAX
MAX
Set the level of the FireWire in knob [20]
to a level where you can hear the previously
recorded track comfortably.
Monitoring
When recording to computer software, there are two
ways to monitor the track you are recording:
Arm a new track in the DAW software and mute
that same DAW channel, and record the new
track on your DAW *.
•
Direct hardware monitoring: Listen to the track
you are recording directly off of your mixer,
while also listening to previously-recorded
tracks on your DAW software, as they are fed
back into the mixer.
While recording the new track, you will hear
the previously recorded tracks coming into the
mixer’s FireWire input, while you simultane-
ously hear the current track you are recording
directly through the mixer hardware.
•
”Through-the-DAW” monitoring, where you
monitor the track you are recording after its
round trip through the computer software,
along with any previously recorded tracks.
•
Repeat these steps until you have built up all
the tracks of your recording.
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* In Tracktion, it is not necessary to mute the output
of the track you are overdubbing on. Instead, select the
input to the track (it will be highlighted in red) and dis-
able the end-to-end function.
A word about latency (wait-and-see)
Latency describes the amount of time it takes the
input signal to pass through the system, and reach
the output. When recording a guitar and monitoring
through software, it is the amount of time it takes from
the moment you strike your guitar string, to the moment
you hear it in your headphones. You are used to this la-
tency being very close to zero; when you play your guitar
through a guitar amp, you hear the signal immediately.
So when you are recording and monitoring via software,
you want this latency to be very low.
We would like to set the latency as low as possible, but
the smaller it is, the harder the computer will have to
work. If the latency is very small, the computer needs to
work very hard to quickly transfer the audio in and out.
It may not even be able to keep up, especially if there
are lots of tracks, lots of automation and/or lots of plug-
ins in your work. If this happens, your audio may stop or
“drop out.” Drop outs may also occur if you have a slower
computer or not enough memory.
You’ll hear existing tracks playing back via the
FireWire in, and you’ll be monitoring the track you are
recording through the U.420’s headphones or main out.
When you play back the recording, you’ll hear the track
you’ve just overdubbed without un-muting anything.
Other tips
•
One drawback of using direct hardware moni-
toring (vs. through-DAW monitoring) is that
the track you are recording will not normally
be able to take advantage of any effects that
the DAW’s mixer has to offer, such as a reverb
on the vocal being recorded, or a guitar amp
simulation on a directly attached instrument.
One workaround for this is the following:
When recording using the overdub method, it is
important to set the U.420’s latency to it’s lowest oper-
able setting. This means going into the audio interface
property page of your recording program and setting the
latency property to the lowest setting the device and
your system will accept without any drop-outs, distor-
tion or CPU overburdening.
The buffer is an area of computer memory that your
DAW uses to hold audio as it works. The smaller the
buffer, the faster audio gets in and out of your com-
puter, and the lower the latency. The size of the buffer
is measured in samples. Depending on your system, a
low setting is typically between 64 and 256 samples. The
more samples, the higher the latency time value. This
time value varies by sample rate, as shown in this table.
•
Set the latency on your DAW to as low as
the computer can handle, and set the U.420
software console panel to the same value
(see page 25 for more information on the
console).
•
•
•
Do not mute the channel on the DAW that
is being recorded. This will allow you to
hear a mixture of the direct hardware
monitor, and the through-DAW signal.
Samples 44.1 kHz 48 kHz
96 kHz
0.7 ms
1.3 ms
2.7 ms
Apply the effect of choice (reverb, amp
emulation) to the DAW track, which you
will hear mixed in with the direct hardware
monitor source.
64
1.5 ms
2.9 ms
5.8 ms
1.3 ms
2.7 ms
5.3 ms
128
256
As long as the latency is set low enough,
the timing difference between the direct
and through-DAW signal should be small
enough to not cause distraction.
It is generally accepted that delay or latency times of
3.3 ms or less, are tolerable for musical timing accuracy.
Higher latency settings are fine and even necessary
when in live record or performance mode. The same is
true for mix-down mode, especially when you start add-
ing lots of plug-ins.
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6. The next window reminds you to make sure the
U.420 is NOT connected to your computer yet.
Read the instructions and click “Continue.”
Software installation
For the PC:
When using the mixer with a PC, it is necessary to
first install the drivers and the control panel. The con-
trol panel allows you to set the sample rate and adjust
the latency (delay) of the audio passing through the
mixer’s FireWire interface. Go to page 26 if you use a
Mac.
Do not connect the mixer’s FireWire con-
nector to your computer just yet. We’ll tell
you when it’s time to do that.
7. You may get a warning about running the
installer because it hasn’t passed Windows
Logo testing. It’s okay. We’ve tested it and it is
compatible with Windows XP. Click “Continue
Anyway.”
To install the software on a PC running
Windows XP (SPꢀ):
1. Turn off any (non-essential) applications.
2. Insert the U.420 CD-ROM into your PC’s CD-
ROM drive.
3. Click Start in the task bar, then click Run and
click Browse. Browse to your CD drive and
double-click _SETUP.EXE. Then click OK to
start the installation.
4. The Installer opens. Click “Continue.”
8. Now it is time to connect your U.420 FireWire
connection to your computer. Follow the in-
structions and then click “Next.”
5. Next you will see the License Agreement. Read
through the text and if you are all in favor, click
“I Agree.”
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9. Wait until the “Found New Hardware Wizard”
pops up. Do not select any options, just click
“Cancel” to continue. If the same screen comes
back up, click “Cancel” again.
12. A window will pop up to let you know that the
installation was successful. Click “Finish.”
Now you are ready to use the FireWire capabili-
ties of your U.420.
Do not worry about the various popup warnings,
even the one that says “a problem occurred..”
Pay no attention to the man behind the curtain.
Console (PC only)
You should adjust the sample rate and latency from
within your audio software application, for example in
Tracktion’s “settings” tab. If this is not an option in your
software, then use this console instead.
If you do this from within your software ap-
plication, do not use the control panel during
the same session, or there might be a conflict.
You can use the console for a quick check of the set-
tings, and to make sure they are the same as your audio
software settings.
10. You will get another impertinent warning, this
time about installing the hardware. It’s okay.
Click “Continue Anyway.”
The installer places a shortcut to the console
on your desktop.
•
•
Adjust the sample rate by clicking on the arrow
in the sample rate window. (The arrow disap-
pears if your local software has control.)
11. The drivers and control panel will be installed
on your computer.
Adjust the latency by clicking and moving the
slider in the display.
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For the Mac:
Selecting the device (Mac/PC):
1. If you have followed the preceeding instruc-
tions for the PC or Mac, connect the U.420 to
your computer using the FireWire connection.
Macintosh OS X Audio MIDI Setup
(version 10.ꢁ.9 or later):
2. In your audio production software, such as
Tracktion, select the U.420 as your input and
output device. The screenshot below shows the
“Settings” area of Tracktion 3.
Macintosh OS X does not require FireWire drivers
to be installed. OS X provides a dedicated setup utility
for audio and MIDI. You can use the Audio MIDI Setup
utility to change the default audio input and output and
general system settings on your Macintosh.
1. Go to the Applications folder and open the
Utilities folder.
2. Double-click “Audio MIDI Setup.”
3. Play a source into the U.420 and verify that your
software is receiving the signals correctly.
4. Record audio and play it back to verifiy every-
thing is working nicely.
3. Click the Audio Devices tab, and select U.420 in
the “Properties For” drop-down box.
4. Here you can see the settings for the U.420. You
can also choose the U.420 as your default input
or output, as well as designate it to be used for
the system sound output.
5. You’re ready to go with any Mac OS X Core
Audio host application (i.e., Tracktion, Logic,
Cubase, Nuendo, Live, Digital Performer, etc.).
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U.420 Limited Warranty
Please keep your sales receipt in a safe place.
IMPORTANT: Make sure that the Service Request Number
is plainly written on the shipping carton. No receipt, no
warranty service.
A. LOUD Technologies Inc. warrants all materials,
workmanship and proper operation of this product for a period
of one year from the original date of purchase. You may
purchase an additional 24-month Extended Warranty (for a
total of 36 months of coverage). Visit our website and follow
If any defects are found in the materials or workmanship or
if the product fails to function properly during the applicable
warranty period, LOUD Technologies, at its option, will repair
or replace the product. This warranty applies only to equipment
sold and delivered within the U.S. and Canada by LOUD
Technologies Inc. or its authorized dealers.
E. LOUD Technologies reserves the right to inspect any
products that may be the subject of any warranty claims before
repair or replacement is carried out. LOUD Technologies may,
at our option, require proof of the original date of purchase in
the form of a dated copy of the original dealer’s invoice or sales
receipt. Final determination of warranty coverage lies solely
with LOUD Technologies.
F. Any products returned to one of the LOUD Technologies
factory-authorized service centers, and deemed eligible
for repair or replacement under the terms of this warranty
will be repaired or replaced. LOUD Technologies and its
authorized service centers may use refurbished parts for repair
or replacement of any product. Products returned to LOUD
Technologies that do not meet the terms of this Warranty
will not be repaired unless payment is received for labor,
materials, return freight, and insurance. Products repaired
under warranty will be returned freight prepaid by LOUD
Technologies to any location within the boundaries of the USA
or Canada.
B. For faster processing, register online at www.mackie.com,
or you may fill out and mail in the product registration card
included along with this manual.
C. Unauthorized service, repairs, or modification of Mackie
products will void this warranty. To obtain repairs or replacement
under warranty, you must have a copy of your sales receipt from
the authorized Mackie dealer where you purchased the product.
It is necessary to establish purchase date and determine whether
your Mackie product is within the warranty period.
D. To obtain warranty repair or replacement:
G. LOUD Technologies warrants all repairs performed
for 90 days or for the remainder of the warranty period.
This warranty does not extend to damage resulting from
improper installation, misuse, neglect or abuse, or to exterior
appearance. This warranty is recognized only if the inspection
seals and serial number on the unit have not been defaced or
removed.
1. Call Mackie Technical Support at 800/898-3211, 7 AM
to 5 PM Monday through Friday (Pacific Time) to get
authorization for repair or replacement. Alternately, go to
support), and follow the instructions for reporting a warranty
issue and submitting a request for an advance replacement.
2. Advance Replacement: Mackie will ship a replacement
unit to you along with an invoice for the suggested
retail price of the replacement unit. You must return the
defective unit immediately to cancel the invoice. If you do
not return the defective unit within 30 days, you must pay
the full amount stated in the invoice to satisfy your debt.
H. LOUD Technologies assumes no responsibility for the
timeliness of repairs performed by an authorized service
center.
I. This warranty is extended to the original purchaser. This
warranty may be transferred to anyone who may subsequently
purchase this product within the applicable warranty period
for a nominal fee. A copy of the original sales receipt is
required to obtain warranty repairs or replacement.
3. Repair: When you call Mackie Technical Support,
explain the problem and obtain a Service Request
Number. Have your Mackie product’s serial number
ready. You must have a Service Request Number before
you can obtain factory-authorized service.
J. This is your sole warranty. LOUD Technologies does not
authorize any third party, including any dealer or sales
representative, to assume any liability on behalf of LOUD
Technologies or to make any warranty for LOUD Technologies
Inc.
• Pack the product in its original shipping carton. Also
include a note explaining exactly how to duplicate the
problem, a copy of the sales receipt with price and date
showing, your daytime phone number and return street
address (no P.O. boxes or route numbers, please!), and
the Service Request Number. If we cannot duplicate the
problem or establish the starting date of your Limited
Warranty, we may, at our option, charge for service time
and parts.
K. THE WARRANTY GIVEN ON THIS PAGE IS THE SOLE
WARRANTY GIVEN BY LOUD TECHNOLOGIES INC.
AND IS IN LIEU OF ALL OTHER WARRANTIES, EXPRESS
AND IMPLIED, INCLUDING THE WARRANTIES OF
MERCHANTABILITY AND FITNESS FOR A PARTICULAR
PURPOSE. THE WARRANTY GIVEN ON THIS PAGE SHALL BE
STRICTLY LIMITED IN DURATION TO ONE YEAR FROM THE
DATE OF ORIGINAL PURCHASE FROM AN AUTHORIZED
MACKIE DEALER. UPON EXPIRATION OF THE APPLICABLE
WARRANTY PERIOD, LOUD TECHNOLOGIES INC. SHALL
HAVE NO FURTHER WARRANTY OBLIGATION OF ANY
KIND. LOUD TECHNOLOGIES INC. SHALL NOT BE LIABLE
FOR ANY INCIDENTAL, SPECIAL, OR CONSEQUENTIAL
DAMAGES THAT MAY RESULT FROM ANY DEFECT IN THE
MACKIE PRODUCT OR ANY WARRANTY CLAIM. Some states
do not allow exclusion or limitation of incidental, special, or
consequential damages or a limitation on how long warranties
last, so some of the above limitations and exclusions may not
apply to you. This warranty provides specific legal rights and
you may have other rights which vary from state to state.
• Ship the product in its original shipping carton,
freight prepaid to the authorized service center. Write
the Service Request Number in BIG PRINT on top of
the box. The address of your closest authorized service
center will be given to you by Technical Support, or it
may be obtained from our website. Once it’s repaired,
the authorized service center will ship it back by ground
shipping, pre-paid (if it qualified as a warranty repair).
Note: Under the terms of the warranty, you must ship
or drop-off the unit to an authorized service center.
The return ground shipment is covered for those units
deemed by us to be under warranty.
Note: You must have a sales receipt from an authorized
Mackie dealer for your unit to be considered for
warranty repair.
ꢀ7
Owner’s Manual
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16220 Wood-Red Road NE • Woodinville, WA 98072 • USA
United States and Canada: 800.898.3211
Europe, Asia, Central and South America: 425.487.4333
Middle East and Africa: 31.20.654.4000
Fax: 425.487.4337 • www.mackie.com
E-mail: [email protected]
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